Role Call | Emily Abate, Senior Technical Designer

There are few sectors of the economy that offer as wide and interesting a range of career opportunities as fashion. In a new series that coincides with the launch of BoF Careers, the global marketplace for fashion talent, we highlight some of the industry’s most interesting jobs and the talented people who do them.

NEW YORK, United States — Behind every successful fashion brand is a team of technical designers responsible for translating runway pieces into commercially viable garments that sell to end consumers who often look nothing like six-foot tall, size zero catwalk models. Emily Abate leads the technical design department at Mary-Kate and Ashley Olsen's label The Row. Before joining The Row in 2008, Abate worked for Nanette Lepore and Vivienne Tam.

BoF: Please describe your current role.

EA: I usually say that I make things happen, connect people and solve problems. In truth, I am a crucial player in the design process. The designers come up with initial sketches, and I allocate the design to the best factory, the best pattern maker and connect with the fabric and trim teams to pull together all needed resources to make a beautiful final garment. Additionally, through the entire process, I make sure the garment is being constructed in a way that allows for mass production within a price point dictated by the merchandising team.

As technical designers, our job is not only to make beautiful runway samples for a six-foot tall model, but also to adjust this fit to meet "real women" in production. The challenge of how to deliver the design – seen on the six-foot tall, size zero runway model – for the average woman, who is often under 5-foot 5-inches, can be difficult.

Most garments are increased, or ‘graded’, from the runway sample to fit a size four production model. We usually increase the circumference of the garment and decrease the length. However, when you work with looser fitting or oversized garments, the model with extra height can often carry volumes that dwarf the shorter production model. These volumes need to be decreased in the circumference as well as the length, to give the same visual balance and aesthetic on the size four stock model.

A beautiful collection can get incredible amounts of press, but without proper fitting production garments, a company can't achieve the needed sell-through rate at retail.

BoF: What attracted you to the role?

EA: I began my career as a designer. I always loved making clothes and drawing. I studied at FIT in New York and landed an assistant designer position within a week of graduation.

Within a few years, I found that I was more captivated by the technical side of the design process – patterns, construction and fit. It was an easy transition; I fell into technical design and eventually grew to my current roll at The Row, which is senior technical design manager. I now work as partner to the designers, supervise a team of technical designers and also function as a studio manager for our in-house atelier.

BoF: What is the most exciting project or initiative you have worked on?

EA: There have been a few! Ashley Olsen's Met Ball dress was a pleasure – a beautiful pure bias dress with a plunging back. It's simple and clean and in many ways, making this dress was a harder challenge than making fully beaded gowns.

Also, the first runway collection The Row had ever done was very exciting. I'd worked on runway collections for other designers, which was often more work than pleasure. However, working at a start-up and accomplishing goals and collections with a young team was exciting.

BoF: How is your role changing? What are the forces driving this change?

EA: I have been at The Row since 2008. When I started, I was the sole technical designer for all categories. We were a team of four in a one-room office. The company’s growth coincided with my personal growth. I went back to college and studied pattern making in the evenings to keep my skill set up to speed with the growing products. I now work in an office with departments and teams and over 50 employees in New York City. I have been within the same company for six years; however, my role and the company have completely changed and grown, allowing for new challenges.

BoF: Tell us about a time you failed and how you learned from it.

EA: My supervisor (and mentor) has a great policy — accept mistakes, learn how to avoid them from repeating, correct them, and move on. I'm human. I've learned on the job. Mistakes can and do happen. We have had to downsize or upsize production, change out ripped pockets, and employ many other problem-solving solutions along the way. I'm happy to take responsibility for mistakes that aren't even mine if it helps others move on and lets us solve the problems at hand faster. My advice to all is do not let egos and blame hold you back, learn from mistakes, avoid them from repeating and move on!

BoF: What advice do you have for people who are interested in doing what you do?

EA: The fashion industry is not the friendliest of all industries. It's glamorous on the outside alone. It is not known for exorbitant salaries and has long hours. However, if you love making clothes and making a person try something on and feel beautiful, then it's something you should consider. Seeing a magazine shot of one of the show pieces I've worked on is great, but actually seeing someone wear the clothing you've developed, seeing them radiate beauty and confidence, and knowing you helped with that — it's a great feeling!

This interview has been edited and condensed.

To explore exciting fashion industry roles like this and others, visit BoF Careers, the global marketplace for fashion talent.